If there’s one overarching theme within all of Mike Leigh’s films, it is a sense of naturalism. Leigh is a patient filmmaker who lets scenes play out to their fullest extent and does not conform to traditional narrative structures that impede the authenticity of what he is capturing. This general style has allowed Leigh to approach radically different topics, such as a tortured anti-hero in “Naked,” the London Opera in “Topsy-Turvy,” or a legendary British painter in “Mr. Turner.” With his latest work “Hard Truths,” Leigh turns his sights on the epidemic of anger that has seemingly swept the world over the past decade.
The notion of a filmmaker of Leigh’s experience reflecting on the generational divide could have easily been misconstrued as an embittered, older artist lashing out at a world that he no longer recognizes. However, “Hard Truths” doesn’t condemn just one generation, cultural shift, or moment; the words “Trump,” “Brexit,” or “COVID” aren’t even mentioned. “Hard Truths” is instead a caustic examination of just how challenging it is to deal with the accepted normalities of life. Middle age has a way of sneaking up, and a combination of family tragedy, suburban disillusionment, and the crushing weight of mundanity can feel crushing.
At the center of “Hard Truths” is a career-defining performance by Marianne Jean-Baptiste, whose performance in Leigh’s 1996 masterpiece “Secrets & Lies” kicked her career into high gear. If “Secrets & Lies” allowed Jean-Baptiste to be buoyant, charismatic, and even a tad playful, “Hard Truths” offers what may be the exact inverse. She stars as Pansy, a British woman recovering from the recent death of her mother. Although her sister, Chantelle (Michele Austin), makes generous attempts to show her a more positive way of thinking, Pansy can’t help but be infuriated by nearly every single person she makes an acquaintance with.
In a fashion that is typical of a Leigh movie, there are instances that are darkly funny. Pansy is so filled with pains (both physical and emotional) that she feels the need to lash out at anyone who seems to be ignorant of the pressure she is under. This results in many amusing exchanges, including an incendiary argument at a car park and the single funniest dentistry scene in cinema since “Little Shop of Horrors.” While Pansy occasionally raises some salient points, Leigh underlines the fact that she is just arguing for the sake of it. Pansy is so emotionally overwhelmed and lonely that a random dispute with a stranger offers her the only chance to connect with someone passionately.
Critical to Pansy’s irritation is the seemingly ignorant nature of both her husband, Curtley (David Webber) and son, Moses (Tuwaine Barrett). Since “Hard Truths” is fairly light on exposition, save for the brief discussion of Pansy’s mother, it is assumed that this family has already been through the worst of its shouting matches. What exists now is the shell of a household; Curtley never engages with Pansy with any positive thoughts or attempts to mend her mood. Conversely, Moses seems almost terrified to speak out, as he remains alone in his room, seemingly imprisoned by his hesitancy to connect with anyone. Whether this has been an existing issue or a behavior that was exacerbated by his mother’s anger is left ambiguous; either way, there’s no suggestion that anyone’s behavior will change in the near future.
Both male characters are granted just enough screen time to generate interest beyond their dynamics with Pansy. Webber’s performance is perhaps the film’s most challenging, as Curtley maintains a stoicism throughout that is hard to pin on just one motivation. While it is clear that he comes from an older generation that did not necessarily adjust to being emotionally vulnerable, it’s hard to identify anything that he has passion for. The film’s most acerbic implication is that there was never any real affection that existed between Pansy and Curtley. Their marriage was one of convenience and desperation, and the frustrating dispassion that currently exists is the result of that.
There is much more sympathy generated for Moses, as Barrett is able to steadily unravel the emptiness of spirit that defines the character. The dichotomy is quite jarring within the scenes that include Pansy’s nieces (Ani Nelson and Sophia Brown), who despite suffering workplace annoyances, feel like they exist within an entirely different plane of existence compared to Moses. Moses’ absence from the film’s first half may have been intended to reflect his tough maternal relationship, but a near-silent shot of him within the film’s final moments ranks as one of the most crushing, powerful images that Leigh has ever constructed.
“Hard Truths” is perhaps best compared to Leigh’s 2011 masterpiece “Another Year,” the most recent of his contemporary films. While “Another Year” took place over the course of twelve months and “Hard Truths” is set amidst a more concentrated timeframe, they are similar in their observational qualities. Pansy does have some breakdowns, heart-to-hearts, and emotional revelations, but “Hard Truths” is a glimpse into her life, not an expose. This restraint on Leigh’s part is why the film becomes so devastating, as it’s never suggested that the fleeting glimpses of optimism will have any significant, lasting repercussions.
Some may be frustrated by the lack of momentum within “Hard Truths,” as the film often stops short of providing the audience with the emotional catharsis that they may have been waiting for. That being said, this is by no means a film that wastes time, as Leigh gives a poetic cap to each scene that leaves more than enough to chew on. It takes a master filmmaker to put so much trust in their audience to draw their own conclusions, and “Hard Truths” may be deemed impenetrable by those who were expecting a clearer thesis statement. “Hard Truths” insists upon its viewers that they feel something; regardless of what that is, it would be hard to argue that Leigh did not succeed in initiating the type of conversation that Pansy seems to routinely ignore.
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